Rachel Podger Rachel Podger is one of the most creative talents to emerge in the field of period performance. Over the last two decades she has established herself as a leading interpreter of the music of the Baroque and Classical periods...

Track 21 is a Bonus track that is not on the SACD (not enough space)
It is Monatanri - Sonata camera - giga

Introduction:

This disc of solo violin music is a real mixture of some favourite pieces. Pisendel’s
Sonata was probably written in 1716, just before Bach’s unaccompanied Sonatas and
Partitas in 1720 – and one wonders whether Bach may have known it before embarking
on his own giant compositions for solo violin? The two men had met in 1709, and it
would be entirely consistent for Bach to take inspiration from another composer, as
he did from his German forebears like Georg Boehm and, a little latter, when he was
very taken with Vivaldi’s set of concertos L’Estro Armonico and reworked some of the
concertos for solo harpsichord and 4 harpsichords in concerto.
Pisendel took his inspiration from his teacher Torelli. His solo sonata shows he was
a real virtuoso; the writing is idiomatic and challenging at the same time (he writes a
10th double stop in the last movement!). The first movement is an inspired improvisation
during which he uses many different rhetorical devices such as repetition, surprise and
sequence, but in a manner which never feels formulaic or predictable; the dramatic
landscape is extremely striking for performers and listeners alike.
I adore Bach’s Flute Partita and always knew it from afar, the way you know pieces
written originally for a different instrument. I would often play it for fun as a warm up
(which would disorient the flute player in the room!). When choosing the repertoire
for this disc, I was keen to include a piece by Bach, and eventually had the idea of
transposing the Flute Partita into G minor (the original key is A minor). It worked
beautifully and as a piece is extremely rewarding and fun to play – I recommend it to
all violinists. And here we have the chance to extend Bach’s usual habit of grouping in
sixes, which was the favourite number in assembling keyboard suites, other sonatas and
the Brandenburg concertos – as we reach the magical seven for solo violin!
The Tartini Sonatas for solo violin were unknown to me until David Takeno, my
former teacher, gave me a copy of the manuscript a few years ago (the original is in
Padua). Tartini’s handwriting is pretty clear even if minute, and the pieces are consistently
considerable and engaging. He sometimes writes a bass to go with the violin line, but

Quotes:

(...) Podger sounds relaxed and free no matter how complex the writing, her intonation perfect and bowing cleanly judged. (...) Finally, Podger penetrates the soul of the unaccompanied Passacaglia that concludes Biber’s Mystery Sonatas with a thoughtful and dignified performance. (...) Overall, this is a moving and surprisingly addictive recording that abounds with variety and beauty; a disc – and a violinist – to treasure!mmmusicblog

Awards 2014 WINNER INSTRUMENTAL AWARD

(...) it’s an immense honour to win this award and I’d like to thank all those who voted. (...) a tribute to Jared Sacks ‘the best engineer ever’, and Jonathan Freemann – Attwood ‘the best pair of ears and a truly sound mind’BBC

(...) Podgers’s playing is full of clarity, technical assuredness and power. What is most impressive and moving, though, is her attention to detail and understanding of the rhetoric of these pieces. (...)The WholeNote

Rachel Podger is a recognized master of baroque repertory as reflected by her numerous recordings, particularly those on Channel Classics, where her many disks of Vivaldi and Mozart have universally been praised. This new SACD features music for solo violin beginning with Podger's transcription of Bach's Partite BWV 10113, originally for flute. This is followed by the other works listed above, all played with the artist's consummate artistry and impeccable technique. As usual in these Channel Classics recordings, audio is first-rate, with a resonant acoustic.ClassicalCD Review

This extraordinary beautiful recording is one of the finest solo Baroque violin compilations I’ve heard to date. (...) exemplary and authoritative playing (...) the SACD production is sublimely atmospheric and miraculously accurate in its reproduction of every nuance and inflection. (...)International Record Review

(…) Podger is something of a ‘guardian angel’ herself. (…) There is a sureness to the placing of every note, whether poised or bristling with bites and bravado. (…) All in all, utterly ‘stupendious’.BBC Musical Magazine 5/5 stars

Podger’s beautiful playing and her vital approach mix virtuosity with an element of grandeur. The impression is powerful, thanks to her customary polished delivery combined with a bold, temperamental style. (...) Podger gives an outstanding performance, too, of the Biber Passacaglia, projecting the dynamic of the whole piece most persuasively and characterising vividly each stage of Biber’s inventive elaboration of the simple ground bass. We’re left in no doubt that this is one of the peaks of Baroque violin music.Gramophone Editors Choice

Normally I would be bored by an album of unaccompanied violin, but Podger caught my ear on this one. (…) Although Tartini wrote a bass line for many of violin works, he stated that his true intention was to play these works with the bass, where melodic freedom can reign. That’s what Podger does in her performance of the both sonatas here. (…) Who says there is no value in a hi-res surround recording of a single solo instrument? This SACD proves differently.Audiophile Audition, John Sunier

Music takes an important part of my life, and obviously some music affect me more than other. Rachel Podger new SACD is to me one of the most moving I have heard in many years. (...) I only got it in the last for a week or so, and already listened to it many times and I cannot wait to listen to it again.SA-CD.net

Admirers of Rachel Podger's playing should not hesitate to acquire these wonderfully expressive performances immaculately recorded by Jared Sacks in state-of-the-art sound.SA-CD.net 5/5 stars

(...) The supremely talented Rachel Podger gives us a fascinating programme (…) the pieces heard on this disc are some of her own favourites, and the care she lavishes on them in these impeccably musical and technically flawless performances bear witness to her enthusiasm for them. (…)Admirers of Rachel Podger’s playing should not hesitate to acquire these wonderfully expressive performances immaculately recorded by Jared Sacks in state-of-the-art sound. Enthusiastically recommended. Classical CD Choice

Baroque thrills and chills with violinist Rachel Podger’s Guardian Angel (…)a spectacularly fine album of baroque pieces for solo violin (...) So what we get are 78-1/2 minutes of singing, dancing and, above all a mix of remarkable musicianship and awe-inspiring virtuosity. There is absolutely nothing Podger can’t do with an instrument and bow that many committed modern violinists still consider inferior. How she can do this while performing, leading two orchestras and teaching is mind boggling.Musical Toronto

This disc of solo violin music is a real mixture of some favourite pieces. Pisendel’s
Sonata was probably written in 1716, just before Bach’s unaccompanied Sonatas and
Partitas in 1720 – and one wonders whether Bach may have known it before embarking
on his own giant compositions for solo violin? The two men had met in 1709, and it
would be entirely consistent for Bach to take inspiration from another composer, as
he did from his German forebears like Georg Boehm and, a little latter, when he was
very taken with Vivaldi’s set of concertos L’Estro Armonico and reworked some of the
concertos for solo harpsichord and 4 harpsichords in concerto.
Pisendel took his inspiration from his teacher Torelli. His solo sonata shows he was
a real virtuoso; the writing is idiomatic and challenging at the same time (he writes a
10th double stop in the last movement!). The first movement is an inspired improvisation
during which he uses many different rhetorical devices such as repetition, surprise and
sequence, but in a manner which never feels formulaic or predictable; the dramatic
landscape is extremely striking for performers and listeners alike.
I adore Bach’s Flute Partita and always knew it from afar, the way you know pieces
written originally for a different instrument. I would often play it for fun as a warm up
(which would disorient the flute player in the room!). When choosing the repertoire
for this disc, I was keen to include a piece by Bach, and eventually had the idea of
transposing the Flute Partita into G minor (the original key is A minor). It worked
beautifully and as a piece is extremely rewarding and fun to play – I recommend it to
all violinists. And here we have the chance to extend Bach’s usual habit of grouping in
sixes, which was the favourite number in assembling keyboard suites, other sonatas and
the Brandenburg concertos – as we reach the magical seven for solo violin!
The Tartini Sonatas for solo violin were unknown to me until David Takeno, my
former teacher, gave me a copy of the manuscript a few years ago (the original is in
Padua). Tartini’s handwriting is pretty clear even if minute, and the pieces are consistently
considerable and engaging. He sometimes writes a bass to go with the violin line, but

(...) Podger sounds relaxed and free no matter how complex the writing, her intonation perfect and bowing cleanly judged. (...) Finally, Podger penetrates the soul of the unaccompanied Passacaglia that concludes Biber’s Mystery Sonatas with a thoughtful and dignified performance. (...) Overall, this is a moving and surprisingly addictive recording that abounds with variety and beauty; a disc – and a violinist – to treasure!mmmusicblog

Awards 2014 WINNER INSTRUMENTAL AWARD

(...) it’s an immense honour to win this award and I’d like to thank all those who voted. (...) a tribute to Jared Sacks ‘the best engineer ever’, and Jonathan Freemann – Attwood ‘the best pair of ears and a truly sound mind’BBC

(...) Podgers’s playing is full of clarity, technical assuredness and power. What is most impressive and moving, though, is her attention to detail and understanding of the rhetoric of these pieces. (...)The WholeNote

Rachel Podger is a recognized master of baroque repertory as reflected by her numerous recordings, particularly those on Channel Classics, where her many disks of Vivaldi and Mozart have universally been praised. This new SACD features music for solo violin beginning with Podger's transcription of Bach's Partite BWV 10113, originally for flute. This is followed by the other works listed above, all played with the artist's consummate artistry and impeccable technique. As usual in these Channel Classics recordings, audio is first-rate, with a resonant acoustic.ClassicalCD Review

This extraordinary beautiful recording is one of the finest solo Baroque violin compilations I’ve heard to date. (...) exemplary and authoritative playing (...) the SACD production is sublimely atmospheric and miraculously accurate in its reproduction of every nuance and inflection. (...)International Record Review

(…) Podger is something of a ‘guardian angel’ herself. (…) There is a sureness to the placing of every note, whether poised or bristling with bites and bravado. (…) All in all, utterly ‘stupendious’.BBC Musical Magazine 5/5 stars

Podger’s beautiful playing and her vital approach mix virtuosity with an element of grandeur. The impression is powerful, thanks to her customary polished delivery combined with a bold, temperamental style. (...) Podger gives an outstanding performance, too, of the Biber Passacaglia, projecting the dynamic of the whole piece most persuasively and characterising vividly each stage of Biber’s inventive elaboration of the simple ground bass. We’re left in no doubt that this is one of the peaks of Baroque violin music.Gramophone Editors Choice

Normally I would be bored by an album of unaccompanied violin, but Podger caught my ear on this one. (…) Although Tartini wrote a bass line for many of violin works, he stated that his true intention was to play these works with the bass, where melodic freedom can reign. That’s what Podger does in her performance of the both sonatas here. (…) Who says there is no value in a hi-res surround recording of a single solo instrument? This SACD proves differently.Audiophile Audition, John Sunier

Music takes an important part of my life, and obviously some music affect me more than other. Rachel Podger new SACD is to me one of the most moving I have heard in many years. (...) I only got it in the last for a week or so, and already listened to it many times and I cannot wait to listen to it again.SA-CD.net

Admirers of Rachel Podger's playing should not hesitate to acquire these wonderfully expressive performances immaculately recorded by Jared Sacks in state-of-the-art sound.SA-CD.net 5/5 stars

(...) The supremely talented Rachel Podger gives us a fascinating programme (…) the pieces heard on this disc are some of her own favourites, and the care she lavishes on them in these impeccably musical and technically flawless performances bear witness to her enthusiasm for them. (…)Admirers of Rachel Podger’s playing should not hesitate to acquire these wonderfully expressive performances immaculately recorded by Jared Sacks in state-of-the-art sound. Enthusiastically recommended. Classical CD Choice

Baroque thrills and chills with violinist Rachel Podger’s Guardian Angel (…)a spectacularly fine album of baroque pieces for solo violin (...) So what we get are 78-1/2 minutes of singing, dancing and, above all a mix of remarkable musicianship and awe-inspiring virtuosity. There is absolutely nothing Podger can’t do with an instrument and bow that many committed modern violinists still consider inferior. How she can do this while performing, leading two orchestras and teaching is mind boggling.Musical Toronto

Rachel Podger Rachel Podger is one of the most creative talents to emerge in the field of period performance. Over the last two decades she has established herself as a leading interpreter of the music of the Baroque and Classical periods...

Track 21 is a Bonus track that is not on the SACD (not enough space)
It is Monatanri - Sonata camera - giga

Introduction:

This disc of solo violin music is a real mixture of some favourite pieces. Pisendel’s
Sonata was probably written in 1716, just before Bach’s unaccompanied Sonatas and
Partitas in 1720 – and one wonders whether Bach may have known it before embarking
on his own giant compositions for solo violin? The two men had met in 1709, and it
would be entirely consistent for Bach to take inspiration from another composer, as
he did from his German forebears like Georg Boehm and, a little latter, when he was
very taken with Vivaldi’s set of concertos L’Estro Armonico and reworked some of the
concertos for solo harpsichord and 4 harpsichords in concerto.
Pisendel took his inspiration from his teacher Torelli. His solo sonata shows he was
a real virtuoso; the writing is idiomatic and challenging at the same time (he writes a
10th double stop in the last movement!). The first movement is an inspired improvisation
during which he uses many different rhetorical devices such as repetition, surprise and
sequence, but in a manner which never feels formulaic or predictable; the dramatic
landscape is extremely striking for performers and listeners alike.
I adore Bach’s Flute Partita and always knew it from afar, the way you know pieces
written originally for a different instrument. I would often play it for fun as a warm up
(which would disorient the flute player in the room!). When choosing the repertoire
for this disc, I was keen to include a piece by Bach, and eventually had the idea of
transposing the Flute Partita into G minor (the original key is A minor). It worked
beautifully and as a piece is extremely rewarding and fun to play – I recommend it to
all violinists. And here we have the chance to extend Bach’s usual habit of grouping in
sixes, which was the favourite number in assembling keyboard suites, other sonatas and
the Brandenburg concertos – as we reach the magical seven for solo violin!
The Tartini Sonatas for solo violin were unknown to me until David Takeno, my
former teacher, gave me a copy of the manuscript a few years ago (the original is in
Padua). Tartini’s handwriting is pretty clear even if minute, and the pieces are consistently
considerable and engaging. He sometimes writes a bass to go with the violin line, but

Quotes:

(...) Podger sounds relaxed and free no matter how complex the writing, her intonation perfect and bowing cleanly judged. (...) Finally, Podger penetrates the soul of the unaccompanied Passacaglia that concludes Biber’s Mystery Sonatas with a thoughtful and dignified performance. (...) Overall, this is a moving and surprisingly addictive recording that abounds with variety and beauty; a disc – and a violinist – to treasure!mmmusicblog

Awards 2014 WINNER INSTRUMENTAL AWARD

(...) it’s an immense honour to win this award and I’d like to thank all those who voted. (...) a tribute to Jared Sacks ‘the best engineer ever’, and Jonathan Freemann – Attwood ‘the best pair of ears and a truly sound mind’BBC

(...) Podgers’s playing is full of clarity, technical assuredness and power. What is most impressive and moving, though, is her attention to detail and understanding of the rhetoric of these pieces. (...)The WholeNote

Rachel Podger is a recognized master of baroque repertory as reflected by her numerous recordings, particularly those on Channel Classics, where her many disks of Vivaldi and Mozart have universally been praised. This new SACD features music for solo violin beginning with Podger's transcription of Bach's Partite BWV 10113, originally for flute. This is followed by the other works listed above, all played with the artist's consummate artistry and impeccable technique. As usual in these Channel Classics recordings, audio is first-rate, with a resonant acoustic.ClassicalCD Review

This extraordinary beautiful recording is one of the finest solo Baroque violin compilations I’ve heard to date. (...) exemplary and authoritative playing (...) the SACD production is sublimely atmospheric and miraculously accurate in its reproduction of every nuance and inflection. (...)International Record Review

(…) Podger is something of a ‘guardian angel’ herself. (…) There is a sureness to the placing of every note, whether poised or bristling with bites and bravado. (…) All in all, utterly ‘stupendious’.BBC Musical Magazine 5/5 stars

Podger’s beautiful playing and her vital approach mix virtuosity with an element of grandeur. The impression is powerful, thanks to her customary polished delivery combined with a bold, temperamental style. (...) Podger gives an outstanding performance, too, of the Biber Passacaglia, projecting the dynamic of the whole piece most persuasively and characterising vividly each stage of Biber’s inventive elaboration of the simple ground bass. We’re left in no doubt that this is one of the peaks of Baroque violin music.Gramophone Editors Choice

Normally I would be bored by an album of unaccompanied violin, but Podger caught my ear on this one. (…) Although Tartini wrote a bass line for many of violin works, he stated that his true intention was to play these works with the bass, where melodic freedom can reign. That’s what Podger does in her performance of the both sonatas here. (…) Who says there is no value in a hi-res surround recording of a single solo instrument? This SACD proves differently.Audiophile Audition, John Sunier

Music takes an important part of my life, and obviously some music affect me more than other. Rachel Podger new SACD is to me one of the most moving I have heard in many years. (...) I only got it in the last for a week or so, and already listened to it many times and I cannot wait to listen to it again.SA-CD.net

Admirers of Rachel Podger's playing should not hesitate to acquire these wonderfully expressive performances immaculately recorded by Jared Sacks in state-of-the-art sound.SA-CD.net 5/5 stars

(...) The supremely talented Rachel Podger gives us a fascinating programme (…) the pieces heard on this disc are some of her own favourites, and the care she lavishes on them in these impeccably musical and technically flawless performances bear witness to her enthusiasm for them. (…)Admirers of Rachel Podger’s playing should not hesitate to acquire these wonderfully expressive performances immaculately recorded by Jared Sacks in state-of-the-art sound. Enthusiastically recommended. Classical CD Choice

Baroque thrills and chills with violinist Rachel Podger’s Guardian Angel (…)a spectacularly fine album of baroque pieces for solo violin (...) So what we get are 78-1/2 minutes of singing, dancing and, above all a mix of remarkable musicianship and awe-inspiring virtuosity. There is absolutely nothing Podger can’t do with an instrument and bow that many committed modern violinists still consider inferior. How she can do this while performing, leading two orchestras and teaching is mind boggling.Musical Toronto